I tried to think about these two issues very freely. With sex, I think I can manage with that. With death, this is a more difficult theme for me. I'm not a believer, even though I'm baptized. I don't practice. I don't believe in God, so I feel very alone facing death. What I discovered is that the only way to recognize death is if you are part of life, if you are part of sexual pleasure, if you link it with sexual pleasure.

Cinema can fill in the empty spaces of your life and your loneliness.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

All my movies are difficult to classify because they are very eclectic in mixing genres.

Cinema has become my life. I dont mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.

I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.

I'm really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.